“My earliest memories of X100 was at a shopping mall. I was walking pass an electronic store and on display was a gorgeous camera. I actually stop and spend a little moment admiring how good looking it was. It was a Fujifilm camera. Wow. I have never own the original X100. I have used a X100s and owned a X100T and now a X100F.
The X100 series is always special to me. I love the design of it. Kudos to the designer; whom I have the privilege to meet on two occasion. Thank you Masazumi Imai; you have design a timeless looking camera that is loved by photographers all over the world….”
The X100 was the first camera that showed me I was going to love digital photography, after too many dodgy and disappointing premium compacts, bridge cameras and DSLRs.
I ordered one immediately and have loved it from the day it eventually arrived.
“…We’re in Dubai, where Fujifilm is showing off pre-production and prototype samples of three upcoming lenses – the GF 50mm F3.5 – a compact, lightweight standard lens for medium format – the XF 16mm F2.8, and the XF 16-80mm F4 – both of which [were] designed for the company’s range of APS-C format X-series cameras.
Click through for an exclusive first look at all three, including detailed specifications….”
As time is inching towards the release sometime in the first half of 2019 of Fujifilm’s Fujinon XF 16-80mm f/4.0 “travel” zoom lens it is terrific to get some idea of its size and features and other it may provide a solution for own needs as a documentary photographer and videographer.
I am self-funded, only able to carry a small amount of hardware on each project, and must work within ongoing limitations – thanks for nothing, Australian banksters, for blowing our refinancing out of the water after you were found out for your crimes by the Royal Commission into banking.
I must be able to get the most out of the hardware I carry and it must be able to help me create good enough movies and videos without the benefit of cases full of equipment, assistants and crews, and the big budgets that I never had anyway when working as a magazine editorial and corporate photographer during the analog era.
Gaps in their offerings
As two relatively new camera and lens systems, Fujifilm’s APS-C sensor format X system and medium format G system still have gaps in their offerings, especially for documentary types like me who prefer to rely on fast prime lenses with all the manual controls that can be had.
Not to say that I do not appreciate zoom lenses now that their optical, mechanical and image quality are so good nowadays.
I also use and love Panasonic’s Micro Four Thirds cameras and Olympus’ M.Zuiko Pro lenses, with my most-used lens being the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens and, had it been released at the time I bought my first Panasonic camera, I may well have chosen the Olympus M.Zuiko Digital ED 12-100mm f/4.0 OIS Pro zoom lens instead.
Slower zoom lenses are fine so long as you supplement them with moderately wide and moderately long fast aperture prime lenses for available darkness documentary work and portraiture, and Olympus offers three of them in its M.Zuiko Pro range at the moment, with more to come I hope.
Going fast to begin with
At the time I bought my first interchangeable lens Fujifilm camera, the company did not offer a standard zoom lens like those above made by Olympus or their Panasonic equivalents, so I invested in a Fujinon XF 23mm f/1.4 R and Fujinon XF 56mm f/1.2 R, well answering my fast aperture moderate long and wide needs.
Another longstanding need has been for a professional quality 18mm prime lens equivalent to 28mm in the 35mm sensor format and 14mm in the Macro Four Thirds sensor format.
With little sign of Fujifilm offering such a lens any time soon, I have had to consider other possibilities including adapting an EF-mount Sigma 18-35mm f/1.8 DC HSM Art zoom lens to X-mount, but this solution is best suited to DSLR-style cameras like the X-T3 rather than the rangefinder-style X-Pro2 that is much more effective for hardcore immersive documentary photography.
My interest in the coming Fujinon XF 16-80mm f/4.0 R OIS zoom was piqued when I borrowed a Fujinon XF 18-55mm f/2.8-4.0 kit zoom lens for my first tryout of the X-T3.
I loved its 18mm widest focal length, rarely used the lens at 23mm and 55mm as I was also carrying my X-Pro2 equipped with either of those two lenses, and would have loved access to longer focal lengths than 56mm for those times I could not get close enough.
DPReview’s hands-on with the Fujinon XF 16-80mm f/4.0 R OIS WR zoom provides a reasonably reliable impression of the lens in its shipping form and confirms it has a marked, clicking aperture ring and weather resistance, though no manual clutch focus or, probably, no clickless option.
The X-T3’s firmware offers the ability to switch focus-by-wire from non-linear to linear so I will be giving that feature a tryout during my current X-T3 loan period over the coming days.
Two out of three
Two out of three ain’t bad for the Fujinon XF 16-80mm f/4.0 R OIS WR zoom.
As I am not a fan of the neither fish-nor-fowl 16mm focal length, equivalent to 24mm in the 35mm sensor format, the Fujinon XF 16mm f/2.8 R WR “Fujicron” lens is not on my wishlist which is topped by the Fujinon XF 14mm f/2.8 R annual clutch focus prime lens to tackle the ultra wide end of things and has a 58mm filter diameter, meaning I can easily add a knurled brass Breakthrough Photography step-up ring for my neutral density filters when shooting video.
Although I would prefer to have a set of wide-aperture manual-clutch-focus primes for all my documentary moviemaking and photography, the Fujinon XF 16-80mm f/4.0 R OIS WR zoom would provide a range of my most-needed focal lengths – 18mm, 23mm, 27mm, 56mm and 70mm.
In 35mm sensor format terms, that is 28mm, 35mm, 40mm, 85mm and 105mm, and a limit of 120mm at the long end will account for those rare times my feet are unable to do the zooming.
Fuji Rumors has republished images and information about the northern hemisphere fall aka autumn 2019 (southern hemisphere spring 2019) release of the XF 16-80mm f/4.0 R OIS WR including these from Japanese website capa.getnavi.
Many thanks to Fuji Rumors for the slide translation:
Fujinon XF 10-24mm R OIS, Samyang 12mm f/2.0 NCS CS X-Mount, Fujinon XF 14mm R and Venus Optics Laowa 9mm f/2.8 Zero-D for architecture and documentary
Fujinon XF 10-24mm f/4.0 R OIS zoom lens.
Fujinon XF 14mm f/2.8 R prime lens with manual clutch focus.
Fujifilm VF-X21 External Optical Viewfinder for Fujifilm X70, for use with 21mm and 28mm equivalent lenses such as the Fujinon XF 14mm f/2.8 R and XF 18mm f/2.0 R.
Samyang 12mm f/2.0 NCS CS X-Mount prime lens.
Laowa 9mm f/2.8 Zero-D lens with Fujifilm X-Mount.
I have a longterm project coming up where I need to document the construction of a house from greenfield to completion, and I need to expand my stills photography kit for that and a number of other upcoming stills and video projects.
Right now I have no idea what my budget will be, given the economy-wrecking predations of the Australian banks and real estate agencies over the past couple of years, but there are at least two options.
Fujinon XF 14mm f/2.8 R with Fujifilm VF-X21 external optical viewfinder for my X-Pro2.
Fujifilm MHG-XT3 Metal Hand Grip
Fujifilm VG-XT3 Vertical Battery Grip
Fujinon XF 10-24mm f/4.0 R OIS
Fujinon XF 16-80mm f/4.0 R OIS WR
Breakthrough Photography 72-82mm knurled brass step-up ring x 2
Breakthrough Photography lens cap, 82mm x 2
Breakthrough Photography X4 UV filter x 2
Fixed or variable neutral density filters, 82mm diameter
There are other lenses available that receive good reviews and are suitable for architectural photography though they are too ultra-wide for documentary photography, the Samyang 12mm f/2.0 NCS CS X-Mount at 18mm equivalence and Venus Optics Laowa 9mm f/2.8 Zero-D at 13.5mm equivalence in the 35mm sensor format.
If only one lens it is to be, then the minimalist option makes sense as I rather like the Fujinon XF 14mm f/2.8 R’s 21mm equivalence for figures in landscapes, emotive close-up documentary shots, and architectural and cityscape work.
This lens will need Fujifilm’s VF-X21 viewfinder sitting on top of my X-Pro2 as a 14mm field of view falls outside the X-Pro2’s 18-56mm optical viewfinder bright frames and the X-Pro2’s EVF is not what I would like it to be.
Will the X-Pro3 improve upon that and other weak points?
If there is budget enough, then of course I would prefer the maximalist option camera and lens plus upgrading my ageing post-production facility.
The X-T3 plus grips and two zoom lenses, with the addition of my three current 23mm, 27mm and 56mm Fujinon prime lenses, makes a good Super 35mm video set-up combined with Fujifilm’s X-Trans 120-rollfilm quality stills.
The Fujinon XF 10-24mm f/4.0 R OIS is an ageing lens design, however, and lacks weather resistance and appears to be at its best optically speaking from f/8.0 rather than closer to f/4.0.
I want to see Fujifilm bring it up to current standards with a Fujinon XF 10-24mm f/4.0 R OIS WR zoom that will make a great match with the coming Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens, giving the equivalent of 15mm through to 120mm in the 35mm sensor format.
“Panasonic is displaying the new 10-25mm f/1.7 at the CP+ show. But thewy [sic] did not disclose any detail yet about pricing and shipment start….”
If Panasonic gets everything right with this lens it will be in high demand by available light/available darkness documentary photographers and videographers relying on Micro Four Thirds hybrid video/stills cameras like Panasonic’s Lumix DC-G9, Lumix DC-GH5, Lumix DC-GX9 and more, as well as videographers using the Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K.
I have written elsewhere on this website about this lens and others in the same ballpark, but if this lens is to have everything I want then it needs:
Choice of clickless and clicking aperture stops
Manual clutch focus
Optical image stabilization aka OIS
As the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 is still in development, any images released at the moment must be considered to be of pre-production or dummy models and we can only speculate about the lens’ actual specifications.
Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 zoom lens for Micro Four Thirds
“Brought to you live from Hamburg: The newest Olympus camera in professional photography! Watch here the playlist of the full show of the OM-D E-M1X release event. This clip summarizes the official Press Release Conference on January 23rd, 2019, with guests from Olympus Tokyo….”
For me, the Micro Four Thirds sensor format occupies the place that 35mm inhabited during the analog era and so it is well-suited to the photographic genres that were dominated by 35mm cameras such as sports, wildlife, photojournalism, some subgenres of documentary and specific approaches to fashion photography.
Other sensor formats occupy places once owned by larger analog formats, for example Fujifilm’s X-Trans APS-C has taken the place of some 120 roll film formats while Fujifilm’s G-Series Bayer sensor-equipped medium format cameras have taken the place of 4″x5″ sheet film and the company’s coming GFX 100 will likely match if not surpass the image quality of 8″x10″ sheet film cameras.
Similar analogies apply to other sensor formats such as 35mm where 20+ megapixels sensors amply match if not surpass the quality once obtained by medium format roll film and circa 50 megapixels sensors are inching on the door of sheet film’s house.
Complaints that MFT camera sensors may not be as sensitive as those of larger formats are silly given the mobility, weather resistance and smaller lenses with stellar performance the smaller format affords.
If you need larger sensor cameras, invest in them and let MFT be what it excels at just as one should allow cameras of other sensor formats and body types to be what they were designed to be.
Pretending otherwise is silly.
I am rather fond of the Micro Four Thirds format as it gave me access to the pro-quality video capabilities I could not afford at the time and its cameras proved to be rather good for documentary stills photography and photojournalism too.
If I were working for newspapers and magazines as I used to, MFT cameras and lenses would constitute my core daily working kit, supplemented by equipment in other sensor formats as projects demanded.
The Olympus OM-D E-M1X would be in contention as would the excellent Olympus M.Zuiko Pro lenses.
The Micro Four Thirds sensor format is perfectly adequate for those genres and applications.
Olympus OM-D E-M1X with lenses and accessories
Olympus OM-D E-M1X Micro Four Thirds mirrorless digital camera with Olympus M.Zuiko Digital ED 40-150mm f/2.8 Pro zoom lens, equivalent in the 35mm sensor format to 80mm to 30mm.
The Olympus Lens Roadmap, February 2019
Olympus has been doing a great job of fleshing out its professional-quality M.Zuiko Pro lens collection but gaps remain in its prime and zoom lens offerings and rumours of new lenses, particularly new fast prime lenses, have appeared over the last couple of years without results.
I am rather fond of the M.Zuiko Pro lens series, with my most-used being the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom, and I have been hoping that Olympus will add more prime lenses.
I chose the 12-40mm f/2.8 over what might have been the more logical choice given I use Panasonic cameras, Panasonic’s Lumix G X Vario 12-35mm f/2.8 II Aspheric Power OIS zoom lens, for several reasons:
Manual clutch focus – essential in my opinion for achieving fast, accurate, repeatable focus especially when shooting documentary video.
Longer focal length range – 24mm to 80mm in 35mm sensor equivalents, extending the long end into the realm of ideal focal lengths for portraiture.
Excellent optical performance – all throughout the lens’ focal length range.
Excellent mechanical and optical design and manufacturing.
Olympus’ release of its first three fast M.Zuiko Pro prime lenses was very pleasing, but I have long been hoping for the addition of 10.5mm and 14mm prime lenses, equivalent in 35mm terms to 21mm and 28mm, both of which are essentials for documentary photography and video.
While 10.5mm is available wit in the M.Zuiko Pro 7-14mm f/2.8 zoom, that lens requires the use of large, unwieldy and costly adapters for attaching neutral density filters when shooting video.
A 10.5mm M.Zuiko Pro prime lens is a much better choice and it does not need to be as fast as its M.Zuiko Pro siblings with their f/1.2 maximum aperture.
The same applies to an M.Zuiko Pro 14mm prime lens.
Both lenses would be perfectly fine with maximum apertures of from, say, f/1.8 through to f/2.8, though faster is always appreciated in available darkness.
One of Olympus’ new items in its February 2019 lens roadmap, “Bright Prime Lenses”, is encouraging and it appears to be placed somewhere between 10mm and 60mm.
I would love to see wide aperture prime lenses added in popular focal lengths such as the following, in their M43 and 35mm sensor equivalents:
10.5mm – 21mm
14mm – 28mm
37.5mm – 75mm
52.5mm – 105mm
Two other new items in the lens roadmap have me intrigued, “Wide Zoom Lens” and “Standard Zoom Lens”.
I would like to see Olympus take on Panasonic over the latter’s Leica DG Vario-Summilux 10-25mm f/1.7 fast zoom lens that was announced with scant details back in late 2018.
This lens may well be the one I had been looking for when I first bought into Micro Four Thirds, containing most of the focal lengths I need on a daily basis for documentary stills and video, and something similar coming from Olympus for its M.Zuiko Pro lens collection can only be a good thing.
I have been asking Panasonic, either directly or through friendly staff members, to ensure that new lenses for its Micro Four Thirds system cameras have manual clutch focus built in for years now, always without positive result. Until now, sort of…
The very first M43 lens I bought for my first M43 camera was the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens, and besides its many excellent optical and mechanical qualities, the biggest reason I chose it over Panasonic’s own Panasonic Lumix G X Vario 12-35mm f/2.8 II Aspheric Power OIS standard zoom was its manual clutch focus mechanism.
Coming from decades of relying on non-autofocus, non-autoexposure cameras equipped with manual-only prime lenses, I was not ready to fully commit my photography and cinematography practises to focus-by-wire prime and zoom lenses without hard stops at both ends of the focussing scale.
There have been many times in recent years when the only way of achieving fast and deadly accurate focus has been manually, with my 12-40mm M.Zuiko Pro lens most often on my Panasonic Lumix DMC-GX8 rangefinder-style camera, in conditions where my focus-by-wire and autofocus-only lenses have let me down.
With the 12-40mm, all one needs do is snap the focussing ring towards myself, rotate it a little until the required part of the image pops into sharp focus, then shoot.
Manual clutch focussing mechanisms offer a surety of fast, repeatable, accurate focusing that autofocusing does not and, and when I was considering investing in Fujifilm’s X-System cameras and lenses, I was pleased to discover that it offers three manual clutch focus lenses.
I wish that every Fujifilm Fujinon XF and GF lens had manual clutch focus just as I wish the same for all of Panasonic’s Leica and Lumix M43 lenses.
That lack of manual clutch focus in the latter lens system heavily tipped the balance for me towards Olympus’ M.Zuiko Pro prime and zoom lenses and I hope to be investing in more of them soon.
I had thought that Panasonic was impervious to the idea of manual clutch focus for any of its lenses, until perusing photographs of the first three Panasonic S-Series lenses and discovered that, lo and behold, two of the three have manual clutch focussing mechanisms.
Thank you, Panasonic!
I hope that many more S-Series lenses will follow this fine example.
Panasonic Lumix S 70-200mm f/4.0 OIS and Panasonic Lumix S Pro 50mm f/1.4 lenses, both with manual clutch focus
Panasonic Lumix S 70-200 f/4.0 OIS telephoto zoom lens with manual clutch focus.
Panasonic Lumix S Pro 50mm f/1.4 fast prime lens with manual clutch focus.
Aperture ring on the Panasonic Lumix S Pro 50mm f/1.4 lens
A second welcome feature of one out of Panasonic’s three new S-Series lenses is the aperture ring on the Panasonic Lumix S Pro 50mm f/1.4 lens.
My ideal lens form factor for documentary stills and video in all sensor formats would include manual clutch focus to supplement the choice of linear or non-linear focus-by-wire, and an aperture ring with the choice of clickless or clicking stops.
We are now 99% certain that Panasonic will have a major S1-S1R related announcement on the days around January 30. This means we will likely get the full specs information and preorder pricing.
Stay tuned for more info to come!…
Panasonic S1 and S1R
Scenes from photokina 2018 and CES 2019, photographs courtesy of Panasonic.
I bought into Panasonic’s excellent DSLR-style and rangefinder-style Micro Four Thirds sensor camera and lens system for documentary stills photography and video when Fujifilm dropped the ball with its first try at an interchangeable lens APS-C mirrorless rangefinder-style camera, the X-Pro1.
The problems making that camera sadly unusable for me were remedied with the later X-Pro2 and also the DSLR-style X-T1 and X-T2, with the recently-released X-T3 delivering almost everything one might desire in a DSLR-style stills/video hybrid camera with the exception of raw video recording via external monitors/recorders such as the Atomos Ninja V, in-body image stabilization, and a fully-articulated LCD monitor for maximum viewing usability whether shooting movies or photographs.
I was so impressed by my experience of a loaner Panasonic Lumix DMC-GH4 that I ordered one immediately for documentary work and added a Lumix DMC-GX8 as a second video camera that almost immediately became my number one photography camera.
Both cameras constituted my documentary stills kit with the addition of the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens with manual clutch focus, the lens that changed my mind about zoom lenses.
I soon added a second Olympus zoom, then a Panasonic prime followed by a Panasonic zoom lens.
Rumors have it that Olympus’ M.Zuiko Pro lenses are designed in collaboration with Sigma, and whether true or not, Sigma’s membership of the L-Mount group alongside old allies Leica and Panasonic is exciting.
As a longtime though sadly no longer Leica camera and lens user, I would love to be able to afford their current cameras and lenses but Sigma’s Art line prime and zoom lenses’ specifications, image quality results, prices and most of all range of focal lengths impresses as does the company’s cine lens collection.
As I discovered with Fujifilm’s XF APS-C lenses and Panasonic’s M43 Lumix G and Leica DG lens lines, the seldom-spoken downside to new sensor and camera ranges is that it takes years and buckets of manufacturer cash for them to eventually acquire full collections of lenses to suit all their users’ needs.
It is estimated that Canon, for example, took 40 years to achieve that goal with lenses for its 35mm sensor DSLR camera line.
Will Sigma’s presence in the L-Mount consortium and its promised large L-Mount lens collection be persuasive enough to turn 35mm sensor camera users’ heads away from their Canons and Nikons?
The recently announced High Resolution stills and HLG video modes of the Lumix S-Series cameras are impressive but there is more to know about its other features and those of Panasonic’s other cameras in the series.
As a documentary and portrait photographer, I tend to prefer the more portrait and magazine-friendly 4:3 or 3:4 aspect ratios of Micro Four Thirds cameras over the often too-narrow 3:2 or 3:2 of 35mm sensors, and find that fully-articulated LCD monitors are far more useful than any fixed, two-way or three-way tilt screen solutions.
On the other hand, sensor megapixel counts of around 50 or more help produce portraits that possess an uncanny sense of being there especially when printed beautifully and large.
I am looking forward to Panasonic’s January 30 announcements and product shots.
PV: Many members of the ‘Personal View’ community are shooting with the Micro Four Thirds (MFT) system digital cameras including many of the Panasonic MFT system products. Therefore when during the Leica and then Panasonic press conferences prior to the opening of Photokina 2018 we have learned about new L-mount alliance, many of our community members become concern that MFT system is in danger because of these new series of L-mount cameras. Can you give us some insight on the destiny of the Panasonic MFT products?…
… PV: Will the new L-mount system affect the Panasonic development of new MFT products, for example will some of the proposed MFT lenses be delayed? Another concern is that the MFT could be refocused primarily towards the basic entry-level of cameras, eliminating the semi-professional MFT category of products. Will the MFT cameras have the same attention from the best Panasonic engineers and designers, or it will suffer from lack of resources?…
… PV: How do you see the future development of the MFT cameras? For example, one of my favorite MFT camera series is a rangefinder-style GX line, such as GX8. I have noticed that in latest GX-series release, the Lumix GX9 camera is more GX7-alike than GX8, similar to GX7 in size and less advanced in some of its features than GX8, such as weather-sealing, OLED viewfinder, fully articulated display, or availability of external microphone port. Can we expect another series of the compact rangefinder style MFT camera with more advanced features, or all future MFT cameras with advanced features will be solely designed in GH5-style of camera bodies?…”
Panasonic Lumix DC-GX9 with optional screw-attached hand grip that must be removed to access SD cards and batteries. The DC-GX9 reportedly has short battery life so you may well be unscrewing this hand grip many times throughout the day.
Optional normal-sized eye-cup for Panasonic Lumix DC-GX9 on tilting EVF is a must the shooting in daylight outdoors.
Panasonic Lumix DMC-GX8 professional rangefinder-style camera with Panasonic Lumix G X Vario 12-35mm f/2.8 Aspheric Power OIS lens. Note the tilting EVF, turning the GX8 into a waist-level viewfinder camera on command, enabling discrete waist-level shooting as on long-gone classics like Rolleiflex’s normal, wide and telephoto lens-equipped twin lens reflex aka TLR cameras, for example.
The Panasonic Leica DG Summilux 12mm f/1.4 Aspheric prime lens is well-balanced on the GX8.
The Panasonic Lumix DMC-GX8’s fully articulated monitor beats any tilting or fixed LCD monitor screen especially in combination with its tilting EVF.
There is much more to the conversation between Personal View’s Igor Drozdovsky and Panasonic’s Adviser for Technical PR Mr Michiharu Uematsu, the Imaging Section’s Ms Emi Fujiwara and Engineer Mr Taku Kariyazaki than the questions above of whether Panasonic will be dropping development of the professional cameras in the GX series and whether the company will also cease development of its Micro Four Thirds cameras and lenses in favour of the 35mm sensor cameras and lenses of the recently announced S Series.
I recommend reading the interview in full for those of us with the same questions as asked by Mr Drozdovsky, and I hope that answers about the future of pro-quality rangefinder-style GX cameras will soon be provided by Panasonic.
I seriously hope that Panasonic will not be trying to tell us that pro-quality DSLR-style cameras must now somehow replace pro-quality tilting EVF rangefinder-style cameras just as I hope the company will not try to convince us that 3-way tilting monitors must now always replace fully articulated monitors.
Since when is a reduction in capability somehow an advance in capability, other than in the imaginations of marketing department managers?
“The Blackmagic Design Pocket Cinema Camera 4K has started shipping, although in relatively small numbers. Florent from Of Two Lands was lucky enough to pre-order the camera as soon as it was announced and has been using the BMPCC 4K for the last few weeks….
… To me the biggest strengths of this camera are the image quality, being able to record 4K 60P with very strong codecs, great low light performance, and the price point. Also, I should mention the screen again, it is just massive. I like that I can record high-quality content without having people looking at the camera that would be normally much bigger. It allows me to get shots that I wouldn’t be able to get with a large rig….”
I don’t expect to get to see much less try out a Blackmagic Pocket Cinema Camera 4K any time soon, so Matthew Allard ACS of News Shooter and Florent of Of Two Lands have my gratitude for sharing this article and the videos at Two Lands’ YouTube channel.
I have added links to other videos shot with the BMPCC 4K here as well and hope they help form a useful impression of whether this remarkable Australian camera will be of benefit to you in your own work.
“DELUTS BMPCC4K Creative Looks, Base transforms for use with Blackmagic ‘Film’ profile for use with BRAW and ProRes.
75 Luts designed for the Blackmagic Pocket Cinema Camera 4K (This set is also compatable with Blackmagic Ursa Mini 4.6k & Blackmagic Ursa Mini 4.6k Pro using ‘Film’ profile)
• 4 Base Tranforms when working with the Blackmagic Film profile.
• 9 Monotone Creative Looks
• 62 Colour Creative Looks
Davinci Resolve Legacy .cube format Luts. For use in FCPx (Version 4 or Higher), Adobe Premiere Pro CC, Adobe Photoshop, Davinci Resolve and many more supporting applications.
Luts supplied in x64, x33 and x17 resolution. Use x64 for Davinci Resolve, x33 for FCPx and limited adjustment layers with Adobe Premiere CC, x17 for Adobe Premiere CC general use….”
Director/cinematographer James Miller creates and sells creative looks LUTs under the DELUTS brand, and supplies to moviemakers looking for fast, efficient ways of adding strong, emotive looks to their footage.
Mr Miller’s latest DELUTS release is aimed at users of Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K, as well as other cameras using Blackmagic Design’s Blackmagic RAW raw video codec such as the Blackmagic URSA Mini Pro.